BalletAndOpera.com  St. Petersburg City, Russia - ballet, opera, concert and show tickets.

BalletAndOpera.com home page. St. Petersburg, Russia - ballet, opera, concert and show tickets.
   VIEW CART  |   CHANGE CURRENCY  |  Your Account  |  HELP  |  
Toll Free (888) 885 7909
OperaAndBallet.com / BolshoiMoscow.com. Moscow, Russia - ballet, opera, concert and show tickets.
SCHEDULE
NEWS
FESTIVALS
Mariinsky
Ballet & Opera
Mariinsky II
New Theatre
SEE MORE
STAGES
We accept Amex, Visa, MasterCard, JCB, Diner
   SEE BOLSHOI
MOSCOW TICKETS
The Stars of the White Nights 2017
Hello. Returning customer? Sign in. New customer? Start here
07 April 2017 (Fri), 18:30 World famous Mariinsky Ballet and Opera - Mariinsky II (New Theatre) - Opera Richard Strauss "Die Frau ohne Schatten" (Woman without a Shadow) opera in three acts

Running time: 4 hours 30 minutes (till 23:00)

The performance has 2 intermissions

Schedule for Richard Strauss "Die Frau ohne Schatten" (Woman without a Shadow) opera in three acts 2017/2018

Conductor: Michael Guttler
Tenor: Avgust Amonov

Composer: Richard Strauss
Musical Director: Maestro Valery Gergiev
Musical Preparation: Marina Mishuk
Orchestra: Mariinsky Theatre Symphony Orchestra
Stage Director: Jonathan Kent
Set Designer: Paul Brown
Lighting Designer: Tim Mitchell
Musical Preparation: Irina Trutko
Choreography: Denni Sayers
Libretto: Hugo von Hofmannsthal
Principal Chorus Master: Pavel Petrenko
Orchestra: The Mariinsky Theatre Grand Brass Ensemble
Piano: Dmitry Yefimov
Principal Chorus Master: Dmitry Ralko
Conductor: Dmitry Ralko

Orchestra: Mariinsky Theatre Symphony Orchestra
Opera company: Mariinsky (Kirov) Opera

Opera in 3 acts

Performed in German the performance will have synchronised Russian supertitles

World premiere: 10 October 1919, Staatsoper, Vienna
Premiere in Russia: 16 November 2009 Mariinsky Theatre
Premiere of this production: 10 October 1919, Wiener Staatsoper, Vienna

The Woman without a Shadow by Richard Strauss is one of the most sophisticated scores for the orchestra. That is why we decided to stage it only after we devoted nearly a decade to exploring the Western European repertoire in order to grasp the style and the tradition of the most eminent composers of the XIX and XX centuries. This opera features a bright, blooming, colourful orchestra, whilst large and melodic arias are complemented by recitatives in a number of unusual ways. In this opera, Strauss had reached some extraordinary depths of sonority and expression. Without doubt, this opera was a top of novelty in terms of musical language of the time. In our days, having become the classical masterpiece of the beginning of the XX century, the music continues to impress with a great effect the composer achieved by realising his ideas.

The main opera story as sophisticated as the music does. The way it develops is complicated by appearances of non-trivial symbols, allegories, mixing up between “noble heroes” and “common people”. All this means that you are unlikely to get bored as the story&mbsp;develops. However, beware that the main idea behind all that is as simple as noble: one should not attempt building their own fortune on the others’ misfortune, while the proper dignity is achieved only through self-sacrifice.

The production is staged by Jonathan Kent, who is already familiar to our audiences through his production of another opera by Strauss on our stage: Elektra. This production was very well received by opera-lovers in St Petersburg as well as in Baden-Baden and Moscow (within the framework of the “Golden Mask” festival). Journalists noted the unusual staging, scenery, costumes and lighting that all supported the realising of the myth on the stage and creating an environment, which is adequate to Strauss’ music. The same team works in St Petersburg on The Woman without a Shadow production.




Synopsis

Act I 

The Emperor of the South-East Islands is married to the daughter of a fairy that he captured while out hunting; once he injured a gazelle which transformed into the beautiful young woman. 
Having become the Emperor’s wife, she did not, however, become human. She casts no shadow and so cannot become a mother. There is a connection between having a shadow and motherhood, as the former is an Omen and Destiny. The Nurse is pleased at this as she despises all that is human. Keikobad, ruler of the Spirit Realm and the Empress’ father, sends his envoy who holds talks with the Nurse. A falcon flies to the Empress, having been on a hunt with the Emperor when he shot at a while gazelle. The falcon informs her that ‘‘Time will soon run out, woman will not cast a shadow – and thus the Emperor will be turned to stone.’’ The Empress understands the allusion: she has gone beyond the confines of the demonic world, but the Emperor’s egotistical love has not surrounded her with humanity. She is between two worlds: one that does not wish to let her go, and one that will not accept her. And this curse will exert its power not over her, but rather over him. The Empress wishes to acquire a shadow whatever the cost. She is assisted in this by the Nurse, who proposes buying a person’s shadow. The Empress and the Nurse set off and come to the family of Barak the Dyer. 
Barak is no longer young, but he is hale and hearty, as an ox. He works for the sake of his three brothers and his Wife, who is young and attractive but dissatisfied with her life with Barak. Children would be a divine blessing for him, though this marriage, too, has produced no children. The Empress and the Nurse ask the servant to direct them to the Dyer’s Wife. 
The Nurse offers the Dyer’s Wife fine clothes and a lover in exchange for her surrendering her shadow and her fertility. With magic spells and gestures, the old procuress ensnares the young woman and the Dyer’s Wife concludes the bargain. The Empress barely understands this tainted covenant, thanks to which she will acquire her heart’s desire. But the deal is done, the guests vanish suddenly and the Dyer’s Wife is once more left alone. The voices of her unborn children can be heard coming from the pan where five fish are being fried, lamenting mournfully from the darkness. The unsuspecting Dyer returns home. Barak and his Wife each go to their separate beds.

Act II 
The trials begin. The Nurse tempts the young woman with a spectre of a languishing and ardent young boy. As soon as the Dyer leaves, the youth appears in his house. Barak doesn’t know what is going on, but his kind but foolish heart becomes heavier and heavier. He feels that something is amiss, as if someone is calling on him to help. The Empress is involved in this evil scheme. At night, in fear-filled dreams she sees her husband walking through an empty forest, alone, eaten up by egotistical suspicions. His heart has already turned to stone. She awakes from her prophetic dream, but her days are more dangerous than her nights. There is no room for a creature from the Spirit Realm in the world of men. Gradually the Empress overcomes her fears and begins to sense her guilt before Barak. The third night falls: The Nurse, in order to complete the pact, calls on devilish forces for help. Heavy mists descend all around. A cry of horror emerges from the mouths of Barak’s brothers, while the lips of Barak’s Wife produce insane, wild words. She accuses herself of something she has not yet done – of marital infidelity – and says that she has sold her shadow and spurned her unborn children. The brothers light a fire and become convinced of what has been said: the young woman stands before them as a witch, casting no shadow. The Nurse rejoices – the pact has come into force. One has surrendered her shadow; the other must take it for herself. At this terrible and decisive moment, Barak seems to grow taller; his lips, which to this point have uttered no wicked word, pronounce the death penalty on his Wife. A glittering sword appears in his hands. At the sight of the sword, the Nurse understands that higher forces have entered the game, ones with which she cannot compete. Instead of grabbing the shadow, the Empress drags the Nurse away to avoid being spattered in human blood. The Wife falls at Barak’s feet, in supplication and in mad frenzy holds the sword above her own self. The fates are woven together and voices drown each other out – everything around is suddenly under some magic power. The Earth rotates and swallows man and wife; Barak’s house crashes to the ground. A huge swell of water rises from the depths. The Nurse, shielding the Empress with her cloak, seats her in a boat that has magically appeared.

Act III 
The first trial has been completed, and those who have completed it set out for The Spirit Realm. The boat with the Empress and the Nurse arrives at the gates of the Temple. She knows: she is being called to judgement. In the depths, utterly unaware of one another, Barak and his Wife are struggling in their confinement. The voice of one of the spirits calls them upwards. They rise and think of one another with tenderness: he forgiving her, and she begging forgiveness, humbly and, for the first time, lovingly. They rise above, trying to find each other. Here they meet the Nurse, standing before the closed gates of the Temple. The messenger of the spirits guards the entrance from her. She is infuriated. The Empress is standing in the depths of the Temple and awaits the court. But who is it that will judge her? Is it the King of Spirits, her stern father? A curtain screens his face. The Empress’ courageous supplication goes unanswered. There is only the gentle gurgling of the water of the Golden Source, the Source of Life. 
‘‘Drink,’’ says a voice, ‘‘Drink, and the Wife’s shadow will be yours.’’ The Empress hears the voices of the separated man and wife and steps back without having let her lips touch the Golden Source. The waters recede. The Emperor sits upon a stone throne, unmoving, turned to stone. It is only in his eyes, it would appear, that life still lingers. The Source of Life again begins to ring out at the statue’s feet. Sweet voices from above can be heard: ‘‘Say ‘I want it’ and the woman’s shadow will be yours, it will rise, come to life and go with you.’’ The Empress freezes to the spot, battling with her own self. The barely heard words ‘‘I don’t want it!’’ at last come from her lips. She is victorious, as the mother before the throne of Solomon was victorious, prepared to lose her child that he might live. She is victorious for her own self and for the sake of one who would, without her self-sacrifice, otherwise remain petrified forever. And for the sake of two others who, having suffered so much, must rise upwards. A distinct shadow falls on the floor of the Temple. The voices of the unborn children can be heard rejoicing.




Schedule for Richard Strauss "Die Frau ohne Schatten" (Woman without a Shadow) opera in three acts 2017/2018


The Woman without a Shadow
 
About This Video
02:18
"The Woman without a Shadow"
Mariinsky theatre, St.Petersburg, Russia


Feedback
If you need help or have a question for Customer Service, contact us.
Is there any other feedback you would like to provide? Click here
HELP SECTION. Your remarks and offers send to the address: info@BalletAndOpera.com
© Ballet and Opera Ltd, 1995-2017
Select preferred currency:

OAB   ED   SHRT   LINK   LND   INFO